Every Major Behind-the-Scenes Moment From ABT's Fall Gala

Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.

But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.

Devon Teuscher in the floral print suit of our dreams (by designer Patricia Bonaldi) practices her dance moves with Christine Shevchenko. Both girls accessorized with sparkling jewels from gala sponsor de Grisogono.

ABT principal Misty Copeland, who later presented the Melville Straus Leadership Achievement Award to Valentino D. Carlotti.

BFF goals on the gala red carpet.

Sarah Lane got to share her first onstage performance as a principal with her husband, corps dancer Luis Ribagorda.

The cast may have switched costumes post-Songs of Bukovina premiere, but they kept their matching reverse French braided pigtail hairstyle for the party.

The besties performed in different pieces (Skylar Brandt in Thirteen Diversions and April Giangeruso in Songs of Bukovina), but they made sure to match in all black after the show.

So glam, she sported two looks—Melanie Hamrick wore a fitted metallic Carmen Marc Valvo dress for the red carpet and an equally shimmery option from Cushnie et Ochs once the party really started.

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Studio shots by Alinne Volpato

Jovani Furlan's Open-Hearted Dancing—And Personality—Lights Up New York City Ballet

Something magical happens when Jovani Furlan smiles at another dancer onstage. Whether it's a warm acknowledgment between sections of Jerome Robbins' Dances at a Gathering or an infectious grin delivered in the midst of a puzzle box of a sequence in Justin Peck's Everywhere We Go, whoever is on the receiving end brightens.

"I could stare at him forever," says New York City Ballet principal Megan Fairchild. "He's just that kind of open spirit. He's not judging anything. It's like he's looking at you with his arms wide open and a big smile—even if he's not smiling, that's the energy he's giving you."